Member Since: February 2010
Bio / Statement
Photographer Klaus Rossler‚Äôs career has gone through many changes in life before entering the world of photography: formal training in graphic design, cabinetry and professional furniture and antiques restoration in Germany, extens... more
|Artist Statement:||Bio / Statement
Photographer Klaus Rossler‚Äôs career has gone through many changes in life before entering the world of photography: formal training in graphic design, cabinetry and professional furniture and antiques restoration in Germany, extensive travel in Europe and Asia, study of jazz guitar at university level,
performing and recording in North America and Europe.
Yet, his outlook on life changed again after moving to Canada, discovering the grandeur of northern landscapes and subjects in his photography. Living in Northern Ontario and many remote canoe trips had a profound and lasting influence on his work.
He sees photography as a creative process much like painting or sculpture, rather than the recording of reality - emphasizing interpretation and expression - through his fascination with linear structure and texture - by seeing line and shape in a highly graphic way.
As a result the viewer is involved through seeing, instead of looking, responding emotionally. Rather than using photography as a vehicle to convey sociopolitical messages, he points the viewer towards the challenge and recognition of pure design. It is of importance to him to make a clear distinction between the natural design observed and the personal design created, trying to convince us to abandon the notion of reality or truth, so often associated with photography. Rossler‚Äôs scrutiny becomes the viewers care and makes one reflect on the pure power of the visual experience.
His B&W-Duotones of dramatic landscapes, as well as series of non-representational images found recognition throughout the region and with collectors across Canada and the US. Recent series include experimental work, involving multi exposure- off register- and selective focusing techniques, resulting in what he calls Photo-Impressionism.
His latest exhibition ‚ÄúView From The Edge‚ÄĚ explores juxtapositions of outgoing, expanding vistas and the close and intimate, as well as reflections, representing a visual transformation from solid to liquid matter.
Besides observation and capture, Rossler prefers to control all aspects of processing his work, including editing and darkroom techniques, printing, matting and framing in archival quality.
His images have been published in Photo-Life Magazine, several outdoor/canoeing magazines and tourism promotions and have been used for various corporate and commercial applications in North America and Europe. Other commercial work includes assignments, documentation and reproduction of exhibited artwork, as well as photo-restoration.
His work has been chosen by the Canadian Museum Of Nature / Ottawa for ‚ÄėThe Water Project‚Äô, a ten year national touring exhibition.
The City of Thunder Bay / Ontario presented his prints to the recipients of the Thunder Bay Arts & Heritage Awards in 2010 and 2011.
Canadian Geographics magazine published several of his images in the special edition book "National Parks 2011"
2003 Intergenerational Centre ‚Äď Atikokan, Ontario
2004 Pictograph Gallery, Atikokan, Ontario
2005 Gallerie Paquin, Kapuskasing, Ontario
2005 Galley 815, Hurst, Ontario
2007 Thunder Bay Art Gallery, Ontario
2007 A-frame Gallery, Sioux Lookout, Ontario
2008 Duluth Art Institute, Minnesota
2009 Thunder Bay Art Gallery, Ontario
Rossler is member and contributing artist with Artisans North West, Thunder Bay / Ontario.
He is a recipient of an Ontario Arts Council Project Grant for 2008-09 and teaches photography-, oil painting- and photo editing classes locally.
The influence of the land continues to play a significant role in Rossler‚Äôs work, closing the circle from an outgoing, expanding view into the grand vista, back to the micro cosmos of collages of rock and lichen, colors and textures, creating his distinctive point of view.
originated in Greek terminology, meaning 'writing / painting with light', suggests being interpreted as
an expressive and creative act, rather than thoughtless snap-shots or mere documentation.
It is often automatically assumed that the scene depicted in a painting is not as it appeared in reality, that the artist has included his own feelings, way of seeing and expression. Alternatively, in viewing a photograph, we tend to believe that it is the truth, that it is a factual document of something that
existed in the exact form in which it was recorded.
Since its invention photography has been associated with the recording of reality and has become the norm
for the way things appear real to society. It's a commonly held - and false - believe that the camera gives
us a picture of the world that represents what we would see without the camera, that the camera simply
duplicates what the eye sees... nothing could be further from the truth.
I see photography as a creative process much like painting or sculpture. Not only is taking
pictures, or better 'making Photo-Graphs', biased and constructed via mind and tool, so is
viewing and our perception of photographs and everything around us.
As in all visual arts, in photography it is equally essential to distinguish between the natural design
observed and the personal design created. Photo-Graphs are not just a recording of what's there,
but more importantly, an expression of what the photographer sees and imagines - an individual's
reality and view of the world. As a result, one could say that the camera's lens is equally pointed
towards our surroundings as inside our soul. It illuminates the observer as well as the observed.
All photography starts with seeing, followed by the challenge to transform reality into personal expression and emotion. I think a photographer needs even more imagination than a painter. The painter can invent things, but in photography everything is so ordinary and 'real' to start with. It takes a lot of imagination to brake free from reality. The painter starts with an empty canvas - the photographer starts with a full one, facing the challenge to envision and reveal the essential, to exclude clutter and to discard the inessential.
Despite all the technology hype and possibilities of the digital age, the most important part of
photography - and for that matter of all visual arts - is still the ‚Äėart of seeing', the recognition of
the elements in visual design and freeing the subject matter from its identity. It is our imagination and creative vision, experimentation and the breaking of rules. It is about overcoming conservative thinking, the willingness to let go of the convenient strategies that worked for us in the past and the acceptance of making mistakes.
The challenge is not to master the functions of the camera, but to transform the observed into a
personal interpretation. Photography is not about capturing a scene, but about expressing yourself...
by shaping and altering the scene through your imagination. It‚Äôs about opening a window into a differ-rent world, a world shaped by emotions rather than by logic. Here reality has little or no relevance.
As Ansel Adams rightfully stated: ‚ÄĚThe single most important component of a camera is the 12 inches behind it ‚ÄĚ
Photography, especially in the digital age, can be the easiest medium to be confident, but the
hardest medium to have personal vision, because we are constantly reminded of - and held back - by
the demon of reality.
Photography is both - realness and abstractness. Resist the urge to ask 'what is it?' - resist the label. Instead, let your eyes roam over shapes, lines, textures...and their arrangements, responding emotional, not logical.
I hope you enjoy viewing my images as much as I do making them.
‚ÄúView From The Edge‚ÄĚ - The Limnology Project
Thunder Bay Art Gallery Exhibition
with works by Klaus Rossler September 25 - November 15, 2009
Limnology, by definition, is the study of physical, chemical, meteorological and biological conditions of bodies of fresh water. by that token, many artists in the region can be said to be limnologists. They observe and record responses to those same conditions. This Limnology Project presents Klaus Rossler from the North Superior region, who is so inclined.
Landscape interests have strong purchase here. As citizens of Thunder Bay, we all hold that a special consciousness is ours in the splendor of isolation. Nature exerts its thrall just steps from our front doors. In the North Superior region, our eyes seem continually drawn to fresh water and its contiguities: shore, cliff, shimmer, and sky regardless of season or time of day.
The rugged simplicity synonymous with Group of Seven was consonant with our national ethos ninety years ago, but their influence has been an inhibition of the genre on the intervening decades. In the 1960‚Äôs abstraction forced art in a different direction. Happenstance, not hostility, saw the theory-heavy approaches of the 1980‚Äôs and 1990‚Äôs evade pictorial landscape. At times, it has been difficult to find landscapes unattached to political correct images of pollution, industrial degradation, the depravity of resource pillaging, or moralistic social provocation. Even more ironically, landscape interests waned as the environmental movement blossomed. The function of landscape to lend perspective to space seemed totally eclipsed.
This week, as the G 20 leaders convene in Pittsburgh to do their No-You-First Dances and global warming continues apace, it seems even more imperative to champion a genre that supports us, individually and collectively, to contemplate the natural world around us and our relation to it. Fortunately for us, Klaus Rossler‚Äôs exhibition here represents a focused attention that cannot but bolster our private environmental considerations. Being concerned with beauty, he is committed to health.
Klaus Rossler‚Äôs photo-based reflections can all be seen to represent aspects of our own physical contexts, our own perceptions, and the necessary focus of our own ecological concerns. Viewers will find resonance in their tender observations and careful interpretations. Klaus Rossler‚Äôs ‚ÄúView From The Edge‚ÄĚ may have started as an examination of Nipigon Lake, but it seems now less about the objectivity of the camera lens, and far more about his personal feelings and the emotions of the mind behind the lens. Adhering to the lineage of B&W, which is every photographers heritage, his ‚ÄúLonging‚ÄĚ series is a highly evocative statement about those distant unattainable places that seem to afflict our memory. Avalon, the inaccessible Isle of the Blessed, a mirage of perfection, secluded and sublime, is separated from the viewers by turbulent waters. The chill of foreboding, the shadow of doubt, seem to hang in the air. In other images, the whisper of tall grasses and shiver of sands pulled by the ebbing waves, become almost audible. The molten, undulating shimmer of foliage gets cast down to luminous lake.
The responsibility of the artist to present us is amply fulfilled here by Klaus. Quietly, lovingly, he attends to the world around him, caring for himself and for the land on which his community abides. For me these are all images of indwelling, of Being Here Now.
On behalf of Board of Directors, Sharon Godwin, and staff of the TBAG, and on behalf of your respective communities, I thank you for your work and show.
Glenn Allison - Curator
Thunder Bay Art Gallery
|Artist Tags:||photography, fine art / giclee prints, landscape, still life, experimental|